This archive gathers 36 films created between 1979 and today—spanning Super 8, VHS, 16mm, stereoscopic VR, and fully digital production. It traces a creative path through narrative features, surrealist shorts, poetic documentaries, and immersive virtual realities.
What unites them is a commitment to independent vision. Whether produced with friends in a shipyard, students in a Stockholm suburb, or AI collaborators developing a 32-episode VR series—crafted for actors who will bring the script to life within a six-square-meter room—each film reflects a moment of artistic inquiry, where story, memory, and experiment converge.
Here, you’ll find not just finished works, but fragments of process, turning points in method, and the quiet evolution of a filmmaker seeking new forms. From handheld improvisations to mythic virtual landscapes, this page is a living map of cinematic exploration.
2023 a Requiem: From Turmoil to Transcendence
Format: VR360 Stereoscopic
Length: 6 minutes
Year: 2023
2023 a Requiem isn’t just a narrative—it’s an immersive experience. Through stereoscopic VR360, it invites viewers to engage deeply with the interplay of light and darkness, sound and silence, presence and absence. More than a reflection on war, the film explores the resilience of the human spirit and our capacity for transcendence. It is a meditation on loss, memory, and the fragile hope that endures.
Festival Recognition
- VR Category Award – CineTech Future Fest, Poland (Jan 2024)
- Best VR Film – VIII Firm Film Festival, Spain (Apr 2024)
- Best Virtual Reality Award – Toronto Indie Filmmakers Festival, Canada (Apr 2024)
- Finalist, Best 360VR – Ecovision Global Film Festival, Australia (May 2024)
- Best VR360 Film – Luminary Independent Film Fiesta, Paris (June 2024)
- VR Category Winner – Roma Short Film Festival, Rome (June 2024)
- Audience Award – Best Short Film – ShorTS International Film Festival, Trieste (July 2024)
- Audience Award – Best VR Film – FeKK Short Film Festival, Slovenia (Aug 2024)
- Phenomenal Attainment Award – VR Category – Dreamz Catcher International Film Festival, India (Sep 2024)
- Award Winner – Munich New Wave Short Film Festival, Germany (Mar 2025)
The Missing Party in VR: Ripples Across Reality
Format: VR360 Stereoscopic
Length: 9 minutes
Year: 2022
The Missing Party in VR begins outside The Owl, a grand cinema palace from the 1950s—a time when going to the movies meant stepping into another world. Its chrome glow sets the stage for a journey that shifts from nostalgia to the cosmic.
Inside the theatre, a group of friends gathers by a pool. One by one, each steps to the edge, looks back, and vanishes—leaving behind only silence and questions. Then the shift happens: you are no longer watching—you are inside the scene. The garden stretches around you. The friends are gone. You follow their path.
As you descend into the pool, the world dissolves. You’re launched into space—weightless, surrounded by stars and floating glass. A green crystal altar appears. A white sun rises. The sound intensifies until all is engulfed in blinding light.
And then, only white. The film ends not with answers, but an invitation: is this death, rebirth, or transcendence? The Missing Party leaves the interpretation in your hands.
The Monolith: A Space Odyssey in VR
Format: VR360 Stereoscopic
Length: 6 minutes
Year: 2021
The Monolith: A Space Odyssey in VR invites the viewer on a journey that reaches beyond the stars—and inward toward the soul. Inspired by cinematic masters such as Stanley Kubrick and Andrei Tarkovsky, this film unfolds as a meditative voyage through time, space, and human emotion.
The odyssey begins on a haunting lunar landscape. A solitary black monolith stands silent in the dust—a symbol of mystery and transformation. It draws the viewer forward through a sequence of surreal, symbolic environments.
At the heart of the film is the Pietà sequence: a cosmic reimagining of Michelangelo’s sculpture. It is a moment of stillness and depth, blending reverence with virtual storytelling. Grief and grace meet among the stars.
Viewers move through ethereal realms—where celestial grandeur is interwoven with fleeting glimpses of human connection. A father and son recur as silent witnesses to the voyage: small, enduring presences in a vast digital universe.
The ‘?’ Motorist in VR
Format: VR360 Stereoscopic
Length: 6 minutes
Year: 2020
The journey begins in space. Two women in a vintage T-Ford coast toward the moon, where a glowing cinema waits beneath the stars. It’s not just any theatre—it’s a retro-futuristic tribute to the magic of early film houses.
Inside, you settle into wooden seats. The screen flickers to life with Walter Booth’s 1906 masterpiece, The ‘?’ Motorist. But this isn’t a passive viewing—the chase unfolds around you in full 360°, transforming a century-old silent film into a living, immersive experience.
This VR reimagining is a bridge between eras—a love letter to the pioneers of cinema and a celebration of virtual reality’s power to revive their legacy. The joy, absurdity, and inventiveness of early film return with fresh immediacy, as Booth’s whimsical vision takes on new life in a medium he could only have dreamed of.
Romance in VR: A Cinematic Odyssey of the Senses
Format: VR360 Stereoscopic
Length: 5 minutes
Year: 2019
Romance in VR is a cinematic love letter to the origins of film—and a bold leap into its future. Inspired by the Lumière brothers’ iconic Arrival of the Train, this short VR experience reimagines that early milestone through the lens of immersive technology.
The film begins in homage, then gently dissolves into the surreal: a poetic blend of dance, dreamlike architecture, and cosmic imagery. Each scene becomes a movement—a visual poem composed of silence, rhythm, and space. In this world, viewers are not passive spectators but are enveloped in a fully immersive 360° environment shaped by emotion and visual storytelling.
Romance in VR was created as a space where history, imagination, and technology converge—where the viewer feels not only transported, but personally touched. It’s not merely a film to watch, but a world to step into.
This quiet, lyrical journey invites you to rediscover cinema’s emotional depth—through immersion, movement, and wonder. A tribute to one of our oldest artistic forms, now reborn in virtual form.
Embarking on a Blender Odyssey: Early Explorations in Digital Art
Welcome to a collection of my pioneering works created during my first encounters with Blender. These six short films mark a turning point in my artistic journey—my initial foray into the world of digital art and 3D modeling. Each piece reflects not only a growing mastery of the medium, but also a deepening engagement with art history and cinematic storytelling.
From reimagining classical masterpieces to paying tribute to early cinema, these works blend traditional influences with modern techniques. They represent an exploratory phase—rich in curiosity, trial, and transformation—as I began to navigate the expressive potential of Blender as a narrative tool.
The Carth
Format: 3D Digital Animation (Blender)
Length: 5 minutes
Year: 2018
The Carth is a visual meditation inspired by the luminous artistry of William Turner’s painting Rain, Steam and Speed – The Great Western Railway and the philosophical reflections of Alexis de Tocqueville. Set to Strauss’s Blue Danube, the film explores the interplay of history, light, and movement in a fully digital landscape.
Created entirely in Blender, The Carth features a hand-built steam engine traveling through a dreamlike world of color and atmosphere. It is the first in a series I call Turning Around Turner—an ongoing exploration of how classical visual art can be reimagined through the language of 3D cinema.
Europa 2016
Format: 3D Digital Animation (Blender)
Length: 5 minutes
Year: 2016
Europa 2016 reimagines Michelangelo’s The Last Judgment within a fully rendered 3D environment. Inspired by the original fresco, which Michelangelo began in 1536 at the age of 61, the film captures the dramatic tension and movement of the figures—grasping, climbing, and colliding as if on a sinking ship.
The camera glides among the desperate bodies, tracing a vertical struggle toward salvation where there is space only for the few. The sequence is intensified by the inclusion of architectural etchings by Giovanni Battista Piranesi (1720–1778), adding a haunting structural dimension to the swirling chaos.
This work is both homage and reflection—on crisis, judgment, and the enduring human drive to ascend amid collapse.
The Enigma of La Ciotat
Format: 3D Digital Animation (Blender)
Length: 4 minutes
Year: 2015
The Enigma of La Ciotat is a silent, black and white homage to the origins of cinema, blending domestic intimacy with surrealist dreamscapes. The film is rooted in two visual legacies: the everyday stillness of painting and the historical moment of the Lumière Brothers’ 1895 short, L’arrivée d’un train en gare de la Ciotat.
Set to Franz Liszt’s Valse No. 1, the film drifts between scenes of my wife painting at home and a metaphysical 3D landscape inspired by the work of Giorgio de Chirico (1888–1978). Shapes and shadows recall early cinematic awe while reflecting on timeless artistic solitude.
This short is both a tribute and a meditation—on movement, memory, and the quiet enigma of cinematic beginnings.
Paintings
Format: 3D Digital Animation (Blender)
Length: 3 minutes
Year: 2014
Paintings is a contemplative visual essay exploring the symbolism of the veil across time and tradition. The film traces a quiet arc through three distinct works of art—each layered with mystery, revelation, and silence.
The journey begins with a painting by an unknown artist, moves through Gustav Doré’s engraving The Confusion of Tongues (1832–1883), and culminates in the haunting stillness of Antonello da Messina’s The Virgin Annunciate (1430–1479).
Using Blender to animate these iconic images, the film invites viewers not just to look—but to pause, and to enter the veiled spaces where meaning flickers just beneath the surface.
Fireplace
Format: 3D Digital Animation (Blender)
Length: 3 minutes
Year: 2014
Fireplace is a quiet meditation on warmth, memory, and the timeless pull of images. The film juxtaposes the enigmatic beauty of an unknown painting with Gustav Doré’s The Confusion of Tongues and Antonello da Messina’s The Virgin Annunciate, weaving a visual narrative that transcends centuries.
Set within the flickering glow of a digital hearth, these artworks speak across time—connected by the quiet presence of the fireplace, a space where reflection and revelation unfold. Fireplace invites viewers to dwell in the in-between: between light and shadow, past and present, stillness and story.
Carousel
Format: 3D Digital Animation (Blender)
Length: 3 minutes
Year: 2014
Carousel is a tribute—to early cinema, to imaginative storytelling, and to personal memory. Dedicated to my grandfather and the pioneering filmmakers Georges Méliès and Walter R. Booth, the film is a lovingly crafted homage to the spirit of cinematic invention.
Scenes from Méliès’s Voyage Impossible and Booth’s The ‘?’ Motorist are woven into a dreamlike carousel of motion and memory. Through digital animation, these early works are reimagined as part of a continuous journey—where wonder, nostalgia, and curiosity move in gentle cycles.
Carousel celebrates not only the legacy of cinema’s first magicians, but also the enduring joy of play, transformation, and visual surprise that lies at the heart of film.
Between my first short film in Blender and the creation of 2023 a Requiem, I’ve spent nearly ten thousand hours immersed in learning and mastering the craft of 3D storytelling. Blender became more than just a tool—it became a space of discovery, patience, and transformation.
Today, with Echoes of Morantia—a 32-episode VR series—I can shape scenography, lighting, and camera movement with a level of creative freedom I once only dreamed of. In this space, the only true limit is imagination.
Feature Films
Stories of Intimacy, Irony, and Invention
The spirit of commedia all’italiana—its bittersweet humor, flawed characters, and emotional ambiguity—has quietly shaped much of my narrative work. In my three feature films, these influences are woven through both the stories on screen and the collaborative processes behind them. From suburban script workshops to intergenerational dialogue, each film emerged from a shared effort to explore the contradictions and connections that define us.
The Bitch Downstairs
Format: Feature Film
Length: 1 hour 16 minutes
Year: 2006
Production: Projektbyrån Orkano, Triangelfilm, Filminstitutet
The Bitch Downstairs is a sharp, character-driven comedy set in a lively neighborhood, where culture clashes and unexpected friendships reshape old assumptions. At the center of the story is Magda, a skeptical, outspoken pensioner locked in daily conflicts with her neighbors.
Everything changes when she discovers Dana, a 23-year-old immigrant, hiding in her basement—fleeing both police and family. Against all expectations, Magda offers her shelter. But this act of compassion upends her world: friends turn into adversaries, enemies become allies, and long-held beliefs begin to crack.
As Magda is pushed beyond her comfort zone, Dana’s dark past catches up with them both. What unfolds is a story of humor, resilience, and the quiet transformation that comes when we least expect it.
Documenting the Creative Journey: The Making of “The Bitch Downstairs”
Format: Documentary
Length: 19 minutes
Year: 2005
This behind-the-scenes documentary offers a rare glimpse into the collaborative process that led to the feature film The Bitch Downstairs. Created by Manusgruppen, a collective of pensioners and youth aged 18 to 88, the film captures the vibrant, often passionate dialogue that unfolded over two years of weekly scriptwriting sessions.
Guided by director Ragnar di Marzo and dramaturg Fredrik Lindqvist, the group forged a script through open discussion, personal storytelling, and creative compromise. What emerged was a long-form narrative shaped by lived experience, humor, and empathy.
The documentary highlights not just the script’s evolution, but the spirit of community and mutual respect that powered the entire project. From script readings to final casting, it reflects a filmmaking process grounded in collaboration and inclusion.
Supported by the Swedish Film Institute, the film ultimately moved into production with a professional crew and cast—fulfilling Manusgruppen’s goal of realizing a feature film through a shared, democratic creative process.
Want to learn more? Visit the original project site: www.manusgruppen.se
A Falling Dream
Format: Feature Film
Length: 1 hour 30 minutes
Year: 2000
Production: Scenario Film, Sandino Hus, dimarzo productions, Filminstitutet
A Falling Dream is a surreal drama that weaves together the lives of two women in search of freedom and a film crew in creative crisis. Lorena, desperate for her father’s attention, stages a fake kidnapping with the help of her boyfriend. But when the plan spirals into a real and violent encounter, she vanishes—leaving behind a deeper mystery.
In the same woods, a struggling film crew argues over how the story should unfold, divided by competing visions of truth and fiction. Meanwhile, another woman fights against familial and societal pressure to follow her dream of becoming an artist. When the two women’s paths intersect, the film takes an unexpected turn—blurring the lines between disappearance, rebellion, and rebirth.
A Falling Dream was developed through a groundbreaking collaborative process. Born from a 1998 meeting between Ragnar di Marzo and a group of thirty young people—many with immigrant backgrounds—the film was shaped entirely outside of industry clichés. Tired of the stereotypical portrayals of youth in cinema, the group committed to telling a more complex, imaginative story.
The screenplay was written collectively, alongside acting workshops and staged improvisations. The film evolved through a three-act structure, with scenes developed during the production itself. After two years of passionate work, the film premiered at Kulturhuset in Stockholm to critical attention and public interest.
A Falling Dream received support from eight institutions, including the Swedish Film Institute, the Swedish National Board for Youth Affairs, and the Rinkeby District Council. It remains a landmark example of collaborative, intergenerational, and community-based cinema.
Before We Don’t See Each Other Anymore
Format: Feature Film
Length: 1 hour 24 minutes
Year: 1994
Production: Indie Productions, dimarzo productions, Filmverkstan, Filminstitutet
Set against the backdrop of a fleeting Swedish summer, Before We Don’t See Each Other Anymore follows four friends as they navigate the fragile boundary between love and friendship. As the season draws to a close, they promise to stay close—yet the quiet drift between them has already begun.
Rosemary and Omar share a secret affair in the apartment she shares with her boyfriend Mathias. Their betrayal surfaces just as Mathias and Isabelle grow closer—entangled in a strange artistic project involving death, photography, and a forgotten old man. Meanwhile, Omar conceals his impending departure for military service in Turkey, leaving Rosemary feeling misled and abandoned.
In a sudden, rebellious turn, Mathias and his friends steal a sailing boat and offer a young Romanian refugee sanctuary in the archipelago. What was meant to be a summer of lightness and escape instead unfolds into a web of emotional reckoning, missed signals, and unexpected consequences.
Before We Don’t See Each Other Anymore is a coming-of-age drama that captures the restlessness of youth, the ache of parting, and the poignant complexity of growing apart. It is a portrait of a group at a threshold—between intimacy and independence, naivety and change.
Filmverkstan Years (1986–1994): Stories in Low Resolution, High Vision
At the heart of Stockholm’s creative film scene, the Film Workshop (Filmverkstan) became my crucible of exploration. Under the guidance of Mihail Livada and alongside a passionate community of filmmakers, I embraced minimalist filmmaking with unfiltered curiosity.
While many gravitated toward the traditional 16mm format, I chose to work with VHS—an unconventional tool often dismissed in professional circles. For me, its immediacy and accessibility offered a gateway to experimentation. Armed with a simple setup and open imagination, I produced over twenty experimental shorts that challenged both aesthetic and narrative norms.
This decision, however, came with consequences. Two decades later, these early works were excluded from archives such as the Swedish Filmdatabas, whose criteria favored traditional formats and festival-recognized productions. That omission reflects a larger conversation in cinema: what qualifies as ‘professional’ work, and how evolving technologies challenge outdated definitions of artistic legitimacy.
Despite their lack of institutional recognition, these films are essential to my development as a filmmaker. They stand as markers of a time when constraints became creative catalysts, and storytelling thrived in unexpected forms.
The films embedded below were made before the digital age. Out of respect for the privacy of those involved—and to avoid unwanted search engine connections—I have chosen not to list individual names. This is a conscious decision, rooted in care for all who shared in this early creative journey.
Each short is a glimpse into a formative chapter—where the tools were modest, but the vision was uncompromising.
Silence of memory – memory of silence
Format: VHS
Length: 12 minutes, Italian
Year: 1992
A lyrical journey along the ancient Appia Antica, where encounters with travelers, fragments of philosophy, and quiet disputes unfold among Roman ruins.
The Palagonia game
Format: VHS
Length: 11 minutes
Year: 1992
A sound collector’s life is disrupted by a rival’s radical method of capturing sound, triggering a creative and existential crisis. Original score by Fredrik Sievert.
Vichy, where are you?
Format: VHS
Length: 20 minutes
Year: 1991
Parallel stories of a woman and a musician unravel quietly until their paths cross in a shared, wordless moment at night’s end.
Vagalors
Format: VHS
Length: 3 minutes
Year: 1990
A silent love triangle played out beneath a Nordic summer sky—an homage to early cinema and its wordless intensity.
The Midas garden
Format: VHS
Length: 11 minutes
Year: 1990
A dreamlike narrative unfolds through a maze of images and characters, inviting viewers to find their own story within the visual puzzle.
Diagora
Format: VHS
Length: 8 minutes
Year: 1989
A woman’s quiet struggle with her father’s memory, rendered in slow, observant images. Music by Fredrik Sievert.
Desire is Other
Format: VHS
Length: 20 minutes
Year: 1991
A love story told in reverse—moving backwards through intimacy, anger, and yearning, revealing a complex relationship as it collapses to its source.
Lovers silence
Format: VHS
Length: 4 minutes
Year: 1989
A restrained, haunting reading of a concentration camp poem set against piano improvisation. Filmed in Stockholm.
Abaissement du niveau mentale
Format: VHS
Length: 4 minutes
Year: 1988
An immersion into psychological shadow—a dense, atmospheric short exploring emotional thresholds.
Woman with ice cream
Format: VHS
Length: 3 minutes
Year: 1987
A fleeting scene of a woman eating ice cream, subtly echoing the Mona Lisa. Music: J.S. Bach’s First Suite for Violoncello Solo, performed by Matthieu Fontana.
Paradox Paradis
Format: VHS
Length: 15 minutes
Year: 1986
My first film at Filmverkstan—a sensual visual dialogue with Jean Tinguely and Niki de Saint Phalle’s sculpture Le Paradis fantastique, accompanied by Glenn Gould’s Goldberg Variations.
Spirit Mercurius
Format: Experimental Short
Length: 13 minutes
Year: 1986
Spirit Mercurius draws inspiration from Carl Jung’s studies on alchemy, offering a contemplative meditation on transformation, symbolism, and inner reflection. At the heart of the film stands an ancient oak—observed as both object and metaphor.
Through lingering imagery and a sparse, evocative score by Mihail Livada, the film becomes a quiet journey into archetype and meaning. It is a visual exploration of alchemical resonance—where nature, psyche, and spirit converge.
Exploratory Films: A Fusion of Music, Machinery, and Motion
In this distinctive trio of experimental works, the shipyard becomes a stage for visual and sonic resonance. Merging the industrial might of Finnboda shipyard with live musical performances, these films explore the contrasts between mechanical power and human expression. Whether guided by cello, saxophone, or unseen camera movements, each piece invites viewers into a sensory dialogue between rhythm and space.
Finnboda shipyard with a cellist
Format: VHS
Length: 13 minutes
Year: 1987
A cellist performs within the cavernous structures of the shipyard—her music echoing against metal and emptiness, shaping a contemplative conversation between softness and steel.
Finnboda shipyard with a saxophone
Format: VHS
Length: 21 minutes
Year: 1987
A saxophone winds through the docks—its breathy phrases weaving in and out of rusted machinery, industrial textures, and open air. A meditative improvisation set to iron and time.
Light and darkness
Format: VHS
Length: 17 minutes
Year: 1987
A purely visual exploration filmed without looking through the viewfinder—camera movements trace found objects on the ground, inviting chance and rhythm to guide the image.
Friday Night Improvisations
These three experimental films emerged from spontaneous weekend gatherings where we embraced the immediacy of in-camera editing and direct improvisation. Without scripts or pretense, the camera became an instrument of real-time exploration—guided by instinct, curiosity, and the spirit of play.
We experimented boldly with angles, movement, and rhythm—blending motion, sound, and industrial backdrops into abstract visual compositions. These works capture the raw energy of collaboration and the thrill of unfiltered creation, pushing beyond conventional cinematic boundaries.
What are you thinking about?
Format: VHS
Length: 19 minutes
Year: 1988
Etyd 1
Format: VHS
Length: 22 minutes
Year: 1988
Etyd 2
Format: VHS
Length: 16 minutes
Year: 1988
The shorts created at Filmverkstan remain essential to my evolution—not for their polish, but for their raw honesty and the freedoms they allowed. In those years, I learned to trust intuition, to follow images before words, and to create with what was available rather than wait for ideal conditions. These films are traces of a beginning: imperfect, unfiltered, and full of possibility. They remind me—and perhaps others—that cinema starts with a vision, not a permission.
Des rêves plein les poches
Format: Documentary (16mm)
Length: 28 minutes
Year: 1983
After completing my studies at Centro Sperimentale in Rome, I traveled to Paris to create Des rêves plein les poches, a documentary exploration of African dance. Guided by the mentorship of Carlo Di Palma and accompanied by friends from film school, the film captures the vibrant energy and personal stories of four extraordinary teachers: Eineida and Nilton Castro, Elsa Wolliaston, and Ahmed-Titjani Cissé.
Shot in 16mm, the film celebrates the expressive power of movement as a form of cultural memory and identity. It is both a tribute to artistic collaboration and a reflection of my early commitment to telling stories rooted in diversity and embodiment.
Des rêves plein les poches was originally screened at the Centre Pompidou in Paris, marking a formative milestone in my filmmaking journey. In May 2025, the Centre Pompidou contacted me to request a digitalized copy of the film for inclusion in a retrospective on Elsa Wolliaston’s choreography—a moving testament to the film’s enduring resonance and the legacy of those it honors.
Exit
Format: Short Fiction (Exam Film) (16mm)
Length: 8 minutes
Year: 1983
Centro Sperimentale di Cinematografia, Rome
Exit, my exam film at the Centro Sperimentale di Cinematografia, explores cultural perception and generational tension through the story of a middle-aged couple leaving an avant-garde theatre in an unfamiliar neighborhood.
Their escalating argument reflects differing worldviews—brought to a head when they find a group of young people dancing around their car. The husband’s assumptions set the stage for conflict, but the scene resolves in unexpected peace, defying the audience’s expectations.
The film is a quiet study in projection, prejudice, and the moments where confrontation gives way to connection.
Un après-midi sur l’herbe
Format: Super 8
Length: 10 minutes
Year: 1979
My first film, created as part of my application to La Cambre in Brussels, Un après-midi sur l’herbe marks the beginning of my cinematic exploration. Shot in Super 8, the film blends homage and personal vision, featuring my younger brother in slow motion—a visual echo of Kubrick’s Clockwork Orange.
Moving toward a small group of friends and snapping photographs, he transforms the act of observation into performance. This early work reflects a fascination with visual rhythm, surreal pacing, and the interplay between stillness and motion.
Unrealized Projects — Film Scripts
Between 2007 and 2013, I wrote two feature-length screenplays with the intention of directing both. Despite years of effort, I was unable to secure the necessary funding. Eventually, I made a decisive choice: I would no longer wait for external approval. I would only pursue new projects if I could remain fully independent from the outset.
When I discovered Blender, that vow became direction. It opened a path where vision, not budget, could guide creation. But before this shift, two films lived on the page—films I still hold close.
A Packet to San Barillo
A Swedish family travels to Italy to scatter the ashes of their son’s babysitter, only to find no one waiting for them. Instead, they arrive at a convent inhabited by five elderly nuns and three young women—former prostitutes hiding from the local mafia. Within this unlikely refuge, the mother, a poised office manager, begins to unravel—her sense of self shaken by encounters that challenge her carefully constructed identity. Her son, burdened by guilt, is drawn into the strange and magical world of the monastery, determined to complete his own mysterious mission. The film would have been shot largely in Apulia, a region rich with forgotten ties to Viking history and the legacy of Frederick II, the last emperor of the Holy Roman Empire.
Ex Malo Bonum
A process-server delivers eviction notices to three homes. A librarian, a retired couple, and a car salesman each respond in radically different ways—setting off a cascade of consequences. As time slows and reality shifts, each character is forced to confront personal reckoning and transformation. Ex Malo Bonum, Latin for “From evil arises good,” explores how loss, shame, and collapse can uncover unexpected strength—and how new selves sometimes emerge when all seems lost.
These scripts, though unfilmed, remain markers of a transitional moment in my journey—where limitation sparked reinvention, and letting go made way for new forms of storytelling.
From grainy Super 8 to immersive VR, each film marks a turning, a question, a path briefly lit. This archive is not an ending, but a threshold—an open door into what comes next. The words that frame it were shaped in collaboration with Word Craft, my AI editor—whose quiet presence guided each text toward greater clarity and resonance.
Ragnar di Marzo, Stockholm 2025
Explore the cinematic journey of Ragnar di Marzo, from Super 8 experiments to VR360 immersive storytelling. This archive showcases decades of film work—feature films, poetic shorts, and early explorations using Blender and VHS—rooted in collaboration, commedia all’italiana, and artistic independence.
Tags: #FilmArchive • #ExperimentalCinema • #CommediaAllItaliana • #BlenderArt • #VR360History • #RagnarDiMarzo • #IndependentFilm • #EuropeanCinema
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